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White Lead and Linseed Oil Co., 


OF NEW-YORK, 


Pure Wkite Lead. 


I AND IN OIL,) 


RED LEAD, LITHARGE, 
Glassmalvcrs’ Red Lead, Etc. 

ALSO, 

LINSEED OIL, 

(RAW, BOILED, AND REFINED,) 

For Sale by Druggists and Dealers generally, and by 

Robert Colgate & Co., 

General Agents, 

No. 287 PEARL STREET, 
NEW-YORK. 




/jh/q 


JAPAN GOLD-SIZE. 


A PRIZE ESSAY. 


BY ELEVEN PRACTICAL CARRIAGE AND CAR PAINTERS. 


C .6 ,^nrCcjrttr 


SECOND EDITION. 



lS'72. 














Q*# 

A 


Entered, according to Act of Congress, in the year 1872, by 
Valentine & Company,* 

in the office of the Librarian of Congress, at Washington, D. C. 




/ 




INDEX TO SUBJECTS. 


Acetate of Lead, ....... 

PAGK 

18 

Binding Quality of Japan Gold-Size, 

t6 

Bronzing, 

19 

Brown Japan, ........ 

11 

Its Defects, ....... 

11 

Its poor Color, ....... 

11 

Its Brittleness, ...... 

CI 

Its want of Adhesiveness, ..... 

11 

With Oil Colors, ...... 

. . 12 

Car-Painting, ........ 

17, 19, 20 

Color of Japan Gold-Size, ...... 

17 

Colors, ......... 

13 

Oil Colors, ...... 

13 

Importance of Care in Mixing, ..... 

14 

Cracks prevented by Japan Gold-Size, .... 

US 

Cautions in using Japan Gold-Size, ..... 

14 

Directions for using Japan Gold-Size, .... 

13 

Driers, 

10 

Their Necessity, ...... 

10 

What constitutes a good Drier, .... 

11 

Varnish as a Drier, ..... 

1.3 

Acetate of Lead, ....... 

18 

Emerald Green, . ... 

18 





iv Index to Subjects\ 



PAOR 

English Varnish, ...... 

12 

Filling-up, ........ 

9 

“ Flaking” of Varnish; how caused, .... 

9 

“ Flattening Down” of Varnish, ..... 

9 

Gold Bronze, ....... 

19 

Green Colors, . . «■ . 

18 

Hard-Drying Body Varnish;- ..... 

21 

Hardness vs. Elasticity, ...... 

10 

Hardening Quality of Japan Gold-Size, .... 

16 

House-Painting, ........ 

17. 19 

Huile Siccative, ....... 

8 

Japan Gold-Size, 9. Its use in Europe, 12. Why so Called, 8. Directions for 

using, 13. Its use with Oil Colors, 13. Proportions for using, 14. 

Cautions, 14. Superiority over Brown Japan, 14. Its Nine 

Points 

of Excellence, 14. Its Elasticity, 15. Prevents Cracking, 15. 

Its use 

with Permanent Wood-Filling, 15. Admits of Speed, 15. A 

Perfect 

Binder and Hardener, 16. Very Pale in Color, 17. Value to 

House- 

Painters, 17. Effect of Japan on Green Colors, 18. Resists 

Damp- 

ness, 18. Works easily, 18. Works with Safety, 19. Use with 

Gold Bronze, 19. Saves Time, 20. Saves Material, 20. Its Manufac- 

ture in America, ...... 

. 22 

Lettering, . . . . . 

19 

Oil, adulterated, ........ 

19 

Oil Colors, ........ 


Painting in England, ....... 

12 

Good Points, ...... 

12 

Its Durability, ....... 

12 

The Cause, ........ 

12 

Paris Green, ........ 

18 

Permanent Wood-Filling, ...... 

10, 15, 16 

Prepared Roughstuff, ....... 

20 

Progress of Painting, ..... 

10 

Portrait-Painting, ....... 

19 

Roughstuff, ........ 

13 . 19 

Difficulty of making uniform, ..... 

. 20 




Index to Subjects. 


V 

PAflK 

Roughstuff, . 


*3 

Japan Gold-Size in, 


13. 19 

Valentine's Prepared Roughstuff, 


20 

Rubbing-Varnishes, ... 

. 

. . 21 

Schweinfurth Green, ..... 


18 

Ship-Painting, ... . 


19 

Sign-Painting, ...... 


17 . 19 

“ Sinking-away” of Varnish, .... 

. 

9 

Speed allowed by Japan Gold-Size, 


IS 

Examples, ...... 

• 

. . 16 

Sizing for Gold, ...... 


19 

Fat Linseed Oil, ..... 


19 

Japan Gold-Size as a, .... 


8, 19 

Striping, . 


19 

Time saved by Japan Gold-Size, 


15 

Undercoats, too hard, ..... 


9 

loo soft, ...... 


9 

Varnish, ....... 


12, 21 

English Varnish, ..... 


12 

“ Flaking” caused by too hard Undercoats, 


9 

As a Drier, ..... 


13 

As a Binder and Hardener, .... 


16 

Showing through of the Grain ; how caused, 

V 


9 












































































* 






















































































































































































































































































PREFACE. 

We publish this second edition of the following essay on the 
characteristics and uses of “Japan Gold-Size,” in response to a 
constantly increasing call for facts in regard to this improved 
Drying Oil. 

“ Japan Gold-Size” has for many years been the standard drier 
used by coach and car painters in Europe, and its many advantages 
over the Brown Japan, commonly used in America, have so recom¬ 
mended it to our American painters, that it seems destined to take 
the place of the ordinary Japan in all carriage and car shops where 
durability of work is aimed at as well as beauty of finish. 

The essay has been prepared in the following manner: In 
November, 1869, a liberal prize was offered in “The Hub" for the 
best practical essay on “ Japan Gold-Size.” In response ten essays 
were received, the first two of which were published in March, 
1870, followed by the remaining eight in subsequent numbers. We 
have, in the following treatise, made a collect of all the important 
points, which were brought out in these ten prize essays, and we 
are, therefore, indebted for its substance to the following gentle¬ 
men, among others : C. O. Wolcott, W. F. Peirce, J. S. Leggett, 
J. S. Lathrop, H. B. Schroeder, Henry Harper, William Oldham, and 
O. Rodier, (all practical carriage and car painters skilled in the use 
of “Japan Gold-Size,”) to whom we hereby express our thanks. 
In addition, we have, in the course of reediting and rearranging 
the essays, subjoined many new facts, which have since been com¬ 
municated to us by James Hildreth, R. J. Simpson, James East- 
erbrook, and others, which serve to make this essay complete. 
We think that the explanation therein given of the character and 
use of this excellent binder, drier, and hardener of paints, will not 
only serve to show its superiority over Brown Japan, but will ena¬ 
ble the painter to understand its working, and to adopt it in place 
of the latter, without experiencing any of those inconveniences 
which are so common and so natural during the introduction of a 
new article. 

VALENTINE & CO. 

88 Chambers Street, New-York, 

January 1, 1873. 






"Japan Gold-Size is of English origin, and probably took its name from having 
been used originally as a sizing on which to lay gold-leaf; but its name is a poor one, 
as it is not expressive of its common use. In France it is better, for there they call it 
'Huile Siccative' which means Drying-Oil."—The Hub. 


. 



JAPAN GOLD-SIZE. 

There are two very important things to be studied in coach¬ 
painting ; first, to form a surface hard enough to hold out the var¬ 
nish, and cover the grain of the wood ; and, second, to have the first 
and intermediate coats of paint sufficiently elastic to adhere, and 
yield to the natural action of the wood, without cracking or flaking 
off. In effecting one of these results we are apt to neglect the 
other, and nothing but the utmost care, both on the part of the manu¬ 
facturer of the ingredients and the person who prepares and applies 
them, can insure durability. Every practical carriage-painter is 
aware that, if he makes use of large quantities of ordinary Brown 
Japan in his filling-up, etc., the result will almost invariably prove 
unsatisfactory; for the paint does not then retain sufficient elas¬ 
ticity to withstand the contraction caused by extreme cold, and it 
consequently cracks. On the other hand, if we use too much oil, 
the varnish will not retain its fullness.* The general tendency at 
present is to give too much elasticity to the undercoats, as is shown 
by the frequency of their settling away, and giving rise to what is 
variously called “showing grain,” “going greasy,” “showing the 
nibs of the wood,” “ flattening down,” “ sinking away,” etc. The 
painter must remember that while too hard undercoats are liable to 
cause “ flaking,” too soft undercoats are liable to cause just as serious 
a result, namely, “ showing through of the grain.”! The wood drinks 

* J. S. Leggett. t James Easterbrook. 



10 


Necessity of Using a Drier. 


up the oil by degrees, drawing in the vital substance of the varnish, 
and leaves the fibers visible, so that they appear to rise up on the 
surface of the wood. This shows the superiority of the Permanent 
Wood-Filling, whereof the greater part penetrates the pores and 
becomes a fixed yet elastic substance, yielding to the actioi: 
of the wood, without causing the subsequent coats to expand or 
contract in the same degree, whereas the lead remains upon the 
surface, and the oil is gradually absorbed.* 

Our object, in the foregoing remarks, has been to show the 
necessity, in forming a body of paint, to first use a pliable sub¬ 
stance, and then to work up by intermediate degrees to a hard sur¬ 
face, which may hold out the varnish, and yet retain sufficient 
elasticity to withstand the changes of atmosphere. Now, in order 
to do this, we must dispense with an article long used in carriage¬ 
painting, namely, Brown Japan. In arguing that the great amount 
of unsubstantial painting done in this country is generally caused 
by the use of Brown Japan, we shall undoubtedly meet with oppo¬ 
sition ; yet experience has so strongly confirmed the matter in our 
opinion, that we do not hesitate to make such an assertion. All 
paints, prepared with Brown Japan as a drier or binder, will become 
brittle after being exposed to the weather for a time, and the only 
reason why colors prepared in this way remain so permanent as 
they do, is because they are sustained by the strength of the var¬ 
nish that succeeds them, and when they do give way, they usually 
cause the varnish to crack at the same time.f 

The necessity of the use of a drier in painting is apparent to all 
who are acquainted with the nature of paints, and the driers used 
are as numerous and various as are the colors of paint. The sub¬ 
ject of driers has made some developments during the past few 
years, and this advance has been of vital importance to the paint¬ 
ing trade. We all know the great length of time which was 
required from ten to twenty years ago for painting a first-class car¬ 
riage. In some shops, even within a few years, from four to six 
months’ time was not considered too long a time for finishing a ve¬ 
hicle, whereas at present a good substantial job may be turned out 
in as many weeks. This saving of time is due to the scientific 
manner in which the driers, varnishes, etc., are now prepared and 
used. 

Paints in their crude state are selected from the mineral, animal, 


J. S. Leggett. 


t J. S. Leggett. 







Defects of Brown Japan. 


11 


and vegetable world on account of their beauty and durability, and 
they are prepared for use by the addition of oily substances, which 
contain the virtueof resisting atmospheric influences ; but, without 
the further addition of a drier, the paints would require an indefi¬ 
nite period for hardening, and would therefore be of little use to 
carriage manufacturers. The drier most commonly used in this 
country, in connection with paints, has been the ordinary Brown 
Japan. A few years ago, almost every coach-painter manufactured 
his own Japan to suit his own ideas, and therefore no standard 
article was produced, for what was satisfactory to one painter was 
not to another.* 

The question may be asked at this point, “ What constitutes a 
good drier?” and we would reply that a good drier is one that will 
amalgamate well with oil, will dry quickly, and harden solidly from 
the bottom ; and will neither destroy the brilliancy of colors nor 
affect the durability of the work, t 

Ordinary Brown Japan contains large quantities of turpentine 
and shellac, ingredients that seem, in the manufacturing process, 
to eat up the elastic properties of the oil. We do not propose to 
write a history of Japan in this connection, or to name the different 
materials which compose it, but we design rather to show its effecls, 
and to dwell on the necessity of adopting a more expedient article. 

Its principal defects are the following: It is liable to dry either 
too fast or too slow, and is apt to be too thick or too thin for mix¬ 
ing well. Japan dries mostly on the surface, and as it does not 
amalgamate well with oil, it will be seen that it is only a surface- 
drier, and the soft undercoat is often liable to burst it open when 
exposed to the sun. This explains many instances in which long, 
deep cracks occur on coach-panels. As a genuine article, its color 
is invariably very dark, and this feature is often quite a serious 
objection, as one can not use it in mixing fine and light tints with¬ 
out its effects being very injurious to the color of the paints. This 
is especially noticeable with the thin Japan, as painters have often 
learned to their sorrow. Work so finished will sometimes crack 
before the job is finished, and paint so mixed will seldom run 
longer than from three to six months without cracking. 

Among the most prominent defects of Japan, is the fact that the 
coats of paint with which it is mixed will sometimes loosen them¬ 
selves from the surface upon which they have been laid, and after 


* H. B. Schroeder. 


t O. Rodier. 



12 


Use of Japan Gold-Size in Europe. 


standing - for a time, they will fall off as if all power of adhesion 
were gone. Very highly finished work, that is continually exposed 
to the weather, such as railway-coaches, is often subject to this 
defect, and if railway companies understood how much they often 
have to pa)r for repainting such work, they would better appreciate 
the value of the substitute which we will now proceed to describe.* 
If we should ask the question, “Why is the finish on vehicles 
imported from England and France more durable than on our home 
manufactures?” we should probably receive an answer like this: 
“Because in England and France they make use of more oil, and 
use more time in finishing a vehicle.” If durability alone were to 
be considered, to the exclusion of brilliancy, this answer might be 
satisfactory; but, for reasons heretofore stated, it will be seen that 
only a limited portion of oil can be used and allow the varnish to 
retain its fullness and brilliancy. Therefore we must inquire fur¬ 
ther, in order to form a correct opinion. In looking beyond the 
limits of our own country, the only material difference we can 
observe in the method of carriage-painting employed in England 
and France, is the special attention paid to mixing roughstuff and 
colors, and the use of Japan Gold-Size in the place of Japan. Japan 
Gold-Size has been a standard drier in England for many years, on 
account of its powerful drying quality and its durability. This dis¬ 
similarity alone is enough to make their work superior to ours.t 
As to the real merits of English varnish as compared with var¬ 
nish manufactured in this country, we are not able to discover in 
the English any preference over the best that is manufactured in 
this country. Curiously enough, those who have had the least 
opportunity for judging of the comparative merits of English and 
American varnish are often the very ones who are most clamorous 
in asserting the superiority of the English make ; but it is probable 
that they often form their judgments from the acknowledged suc¬ 
cess of painters in England, which success, however, is due in part 
to the fact that English painting is free from the effects of Japan, 
and it is therefore comparatively free from the difficulty of scaling 
off. The use of Japan Gold-Size has undoubtedly helped largely in 
giving credit to the work turned out by English painters, and also 
in giving credit to varnish of English manufacture, whose luster is 
well known to depend much on the solidity and non-absorbing 
qualities of the groundwork on which it is laid. English varnish- 


* Henry Harper. 


t J. S. Leggett. 






Varnish as a Drier, is 

ing has so excelled in this particular, that Americans have been 
anxious to give their work at least the reputation of being finished 
with English varnish.* 

We once tried a series of experiments in search for something 
which would do away with Brown Japan. By the use of oil, hard- 
drying varnish, etc., we prepared a roughstuff that proved very 
satisfactory in some respects. Yet our anticipations were not fully 
realized ; for although this method withstood the most severe tests 
without cracking, the substance was not hard enough to resist 
penetration, and consequently the varnish was unable to retain its 
brilliancy. We then saw the necessity of using an article that 
would, without affecting the durability, harden the above mixture, 
and after considering the subject earnestly, we were led to adopt 
Japan Gold-Size, which proved to contain the desired qualities.t 
We have investigated it thoroughly, and have found it to be an 
indispensable drier, with merits worthy of more general apprecia¬ 
tion in this country. It is an oil-drier, possessing in some degree 
the properties of Japan and a varnish, with all their advantages as a 
drier, and none of their many disadvantages. 

When painting in oil colors, in order to use the Japan Gold-Size 
as a drier, the painter should first grind the color with half oil and 
naif turpentine. In shops where large quantities are used, (as in 
car and house painting,) it may be ground into a keg, and when 
wanted for immediate use, take out a gallon, add Japan Gold-Size 
to it, in the proportion of from two to four gills to the gallon of 
color, (according to the colors used, and the length of time that can 
be allowed for the work,) and mix them thoroughly. As a general 
rule, use just as little of the drier as will afford the desired result. 
Sometimes, when it is necessary to have the work dry quickly, it is 
claimed by some painters that the oil may be omitted entirely from 
the mixture ; while others, equally experienced, claim that Japan 
Gold-Size ought never to be used without the addition of some oil.f 
We must therefore leave this point to the discretion of the painter. 
A few trials will be sufficient to show the painter, who is inexperi¬ 
enced in the use of Japan Gold-Size, that he can grind colors with 
a much smaller proportion of it than he would at first suppose. If 
too much is used, the color is liable to tear or peel off, when tested 
with the finger-nail. Should any of the mixed color above de¬ 
scribed be left over, it should not be turned back into the original 

* Henry Harper. t J. S. Leggett. % James Easterbrook and R. J. Simpson. 



Directions for Use. 


14 

keg, as the freedom of its working depends upon adding the Japan 
Gold-Size as it is required for use. 

If allowed to stand for any length of time after the drier is added, 
the color is apt to thicken and work tough. 

For mixing carmines, the following method has been found to 
be very good. First pulverize the carmine on the flag with a 
knife, then add sufficient turpentine to wet it through, then add a 
small quantity of Japan Gold-Size, just enough to hold the color 
together. We find by this method that the color grinds easily, and 
does not come out fat. In preparing it for use as a glaze, it is only 
necessary to add an elastic finishing varnish.* In sign-painting, 
when it is necessary to have a fatness in the paint in order to with¬ 
stand the weather, plenty of oil should be used, and little Japan 
Gold-Size. If applied to-day, such a coat should be capable of 
handling to-morrow, and will wear much better than if Brown 
Japan were used. 

1. Be careful not to use too great a proportion of the Japan Gold- 
Size, as it is a powerful drier, and by using too much you are liable 
to miss the object. Indeed, this is the only caution that needs to 
be emphasized.! 

2. Mix the Japan Gold-Size with the color when required for use, 
and not before. Before grinding oil colors, be sure and not put in 
any Japan Gold-Size; but grind it in half oil and half turpentine, 
and add the Japan Gold-Size when about to use the color. J 

Why is Japan Gold-Size superior as a drier to Brown Japan ? 
To this question numerous answers can be given, and, after three 
years of experience in its use, we.are able to claim the following 
advantages among others : 

1. It will not cause paint to crack or flake off, (unless used in 
excess.) 

2. It is a good drier, yet elastic, and therefore admits of speed. 

3. It is a perfect binder and hardener. 

4. It is very pale and does not discolor fine paints. 

5. It will resist dampness. 

6. Its use insures safety against the crawling of varnish upon 
color, (unless used in excess.) 

7. The ease with which it can be worked renders it possible for 
a less experienced workman to apply a good coat of color. 


* R. J. Simpson. 


+ lames Hildreth. 


1 R. J. Simpson. 






Will not cause Cracks. 


15 


8, 9. It is preferable because one gallon of Japan Gold-Size will 
do nearly as much work, and better work, than two gallons of 
Brown Japan. For this reason also it is more economical.* 

We make the above claims from actual experiments, and we now 
propose to take up each point separately, and, if possible, convince 
every practical and unprejudiced mind that the claims for Japan 
Gold-Size are but simple facts. 

I. WILL NOT CAUSE CRACKS 

m 

Japan Gold-Size causes paint to dry equally and firmly, and pos¬ 
sesses a degree of elasticity which will obviate the tendency to 
crack which is observable in Japan. 

The painter may apply a coat of “ Permanent Wood-Filling” to 
a spring, or other piece of steel, the last thing at night, and give it 
a coat of Japan Gold-Size color the next morning, and the job will 
not crack. We have known a job done in this way to run five 
months and show no signs of giving way. It is very justly claimed 
that the Permanent Wood-Filling is elastic; this is especially 
important when applied to iron and steel, and when we find a drier 
and hardener for our colors that can be used directly over this 
'elastic coat in so short a time, is it not worthy the attention of 
every carriage-builder? We submit the question to those painters 
who are to-day painting by the old method — lead, oil, and Japan — 
and ask, Can you with such dispatch turn out jobs that will stand 
for any length of time ? Permanent Wood-Filling and Japan Gold- 
Size have been used upon all kinds of work, both bodies and car¬ 
riage-parts, for more than five years, and during this time we have 
never seen one carriage finished with these articles which has 
shown the slightest appearance of cracking or chipping off. 

2. ADMITS OF SPEED. 

Being a powerful drier, and at the same time an elastic one, it 
admits of speed in turning out good work, which would be impossi¬ 
ble if Brown Japan were used. This is often particularly advanta¬ 
geous in doing repair-work, where speed is generally a requisite. 

Every painter who holds a position in a shop not devoted exclu¬ 
sively to the building of new work, knows that there are a multi- 


* C. O. Wolcott. 








16 Admits of Speed. 

tude of small jobs to be done, such as spokes, hubs, parts of rims, 
perches, shafts, springs, and axles, etc., which are looked upon by 
some as of very little consequence, but which painters, who are 
alive to the interests of their employers, know are of vital import¬ 
ance. The painter is often expected to finish such work on the 
same day he receives it from the wood-shop or iron-worker’s, and 
he is also expected to do them in a manner that shall make them 
lasting. Let me ask, Have we ever been able to do this with lead 
and oil ? And when this, is not accomplished, how often are we 
assailed as worthless ! It is just here that the Permanent Wood- 
Filling and Japan Gold-Size become indispensable, for in them the 
painter finds two friends which insure him speed and durability in 
his hurried work. To illustrate this, we will give an example: 

We re;eive, at ten a.m., an old wheel, in which five new spokes 
have taken the place of as many broken ones, and we are told that 
it will be called for at noon. We apply a coat of Permanent Wood- 
Filling to the spokes, then wipe it off with a cloth, and at once 
apply color, mixed with Japan Gold-Size and turpentine. The 
spokes can be striped in fifteen minutes, and at the end of half an 
hour they may be finished with varnish. We do not pretend that 
such a job is a fine one, but as an extreme case it illustrates well. 
We have known of many hundreds of small jobs done in this way, 
and in no case have we ever seen one crack, or flake, or scour off 
when washing the carriage, as would be very liable if done so 
quickly by the old process.* 

3. A PERFECT BINDER AND HARDENER. 

Japan Gold-Size seems to possess peculiar properties in not only 
drying colors quickly but solidly ; not merely drying the paint on the 
surface, and leaving it soft underneath and therefore liable to crack, 
but drying quite down to the bottom, so that when scratched with 
the finger-nail it will not skin off.t 

If we take a coach-body, give it one coat of Permanent Wood- 
Filling, and, after a proper time for hardening, apply a coat of rough- 
stuff, mixed in the old way with Brown Japan as a drier, and var¬ 
nish as a binder—and we admit that varnish is a good binder, if the 
right kind is used, and it is used in just the right proportion—and 
then rub this to a surface, we may perhaps feel quite satisfied with its 

* C. O. Wolcott. f W. F. Peirce. 



A Perfect Binder and Hardener. 17 

appearance, for it looks well to the eye and feels well to the hand. 
But let us.take a glass commonly used as a detector of counterfeit 
bank-notes, and if we examine our job through this glass, we shall 
find that what looked and felt so well is a porous substance, ready 
to absorb our first coat of varnish; and in order that the surface 
may not show signs of pin-holes, we shall have to apply coat after 
coat of varnish until the porous surface is filled.* 

4. VERY PALE IN COLOR. 

Its color is nearly as light as common varnish, and it can be used 
as a drier in the most delicate paints. 

On account of its strong binding and drying qualities, whereby 
only a small quantity is required, and its very light color, it can be 
used with advantage in painting white or light colors, particularly 
when it is necessary to hurry a piece of work. This gives it a par¬ 
ticular recommendation to car, house, and sign-painters. 

The usual method of procedure, when whiteness is required, is to 
grind the white-lead (if such be used) in varnish and oil, and then 
thin with spirits of turpentine. In this way a very clear and hand¬ 
some white can be produced ; but when great expedition is required, 
as is often the case in our railroad-shops, the Japan Gold-Size pro¬ 
duces a mixture very superior to the above, as the paint prepared 
with it not only dries much quicker and more solidly, but covers 
better and works more freely than the varnish-color. I recently 
prepared a panel, and within one hour's time put upon it two coats 
of lead ground with Japan Gold-Size and spirits turpentine, and 
found that this paint covered as well as three coats of the 
ordinary color with varnish used as a drier. Though not quite so 
white as the latter, it approximated very nearly to it, while white 
mixed with any of the Japans (and we have tested a large number 
in trying to find the best) assumes a variety of shades, from a dirty 
buff to a rusty drab. In fact, we have found it impracticable to use 
Japans in any colors about which we are particular as to clearness.! 

Persons uninitiated in the mysteries of the painter’s trade, and 
even many who live by the use of the brush, are unaware how 
much of the clearness and brilliancy of colors depends upon the 
way they are mixed. It is true, not only of light colors, but also of 
all colors, even dark ones, that very often a great deal of their 

' C. O. Wolcott. t W. F. Peirce. 

9 




18 Very Pale in Color. 

beauty is sacrificed by the use of common Japan. In fact, many 
of the adherents of Brown Japan always dispense with its use in 
the mixing of lakes, purples, greens, ultramarine blues, etc., and 
varnish is made use of as a substitute, notwithstanding its disad¬ 
vantages. Those who have never compared the variety of results 
produced by mixing colors in these different ways, would be sur¬ 
prised to observe the distinction. The beautiful variety of Schwein- 
furth or Paris-Green, known also as Emerald-Green, is a very diffi¬ 
cult pigment to manage, as it works badly, has poor covering 
qualities, and possesses no drying properties in itself, as the 
chromes do. Moreover, it is of a hard, gritty nature, requiring 
much grinding, and it is so sensitive in color that a very slight 
quantity of Brown Japan will destroy all its beauty. It has been 
the custom of one of the writers to grind this Paris-Green ii> oil 
and rubbing-varnish, and to put in a liberal allowance of acetate of 
lead for a drier, for the varnish is not powerful enough to effect the 
drying, and we have sometimes been obliged to wait two or three 
days for a single coat to dry, when there has not been due care 
taken in preparing the color. We have tried the Japan Gold-Size 
in connection with this paint, (Paris-Green,) and have found it to 
operate very satisfactorily. We grind the color with oil, a small 
quantity of Japan Gold-Size, and a very little acetate of lead. We 
use not a fourth part of the acetate of lead commonly used in this 
connection, and find that the paint not only works and covers 
better than our former paint, but it retains its brilliancy better, and 
dries in half a day’s time, so that two coats can easily be applied in 
one day, if desired.* 

5. RESISTS DAMPNESS. 

After a long experience in the use of both Brown Japan and 
Japan Gold-Size, and a most careful examination and comparison 
of the workings of each under a variety of conditions, we feel war¬ 
ranted in asserting that any color mixed with Japan Gold-Size will 
resist dampness much better than Brown Japan colors. This is 
undoubtedly due to the compactness of the surface which it forms.t 

6, 7. WORKS EASILY AND WITH SAFETY. 

Japan Gold-Size will not curdle when mixed with raw oil, if the 
* W. F. Peirce. f R. J. Simpson. 



Works JEasily and with Safety. 19 

oil be pure, (it is liable to curdle with an adulterated oil,) and colors 
mixed with it will cover well. It mixes well with oil, and does not 
thicken up or destroy the fluidity of the paint, if used soon after 
mixing, which makes it well adapted for use in colors for striping. 
House, carriage, car, ship, and sign-painters will find in this article 
what they have long desired, and what can not perhaps be attained 
by any other combination. 

It works very finely in lettering and striping, and for tnis kind 
of work we prefer it to any thing else. It works freely, dries quickly, 
and if not used in excess, or allowed to stand long after mixing, it 
does not fill up the pencil. If any have trouble in using it for this 
purpose, it is probably because they do not bear in mind the fact 
that Japan Gold-Size will bear about twice as much spirits of tur¬ 
pentine as Brown Japan. It can also be used advantageously for 
the purpose which its name would imply as its principal use, 
namely, a quick-drying gold-size. It is well known to all gilders 
that one of the best sizings for gilding is old and fat linseed-oil, 
from the reasons that it keeps its tack and gives more brilliancy 
to the gold-leaf.* Japan Gold-Size is an oil-drier, and, when speed 
is desirable, there is probably no better article for use as a size 
for gold, gold-bronze, or silver.t When employed for this pur¬ 
pose, it is best to add a little oil or Wearing-Body Vanish, if 
time will allow.} 

Its evenness and fullness in striping are also prominent points, 
and this is particularly noticeable in piecing the bronze striping of 
spokes, where a joint is often visible when other sizings are used. 

Of all branches of the art, portrait-painting is the one that 
requires the strictest attention to the preservation of colors. Raw 
linseed-oil is generally used, and when a drier is necessary, besides 
that which the tube-paints contain, Japan Gold-Size is preferable 
to any thing we know of. This has been used in England for the 
last twenty years or more, and in this country for the last three 
years, in connection with all kinds of paints, vermilion included, 
and no trouble whatever has been experienced from the color 
changing. Neither does it curdle in the paint, so as to make it 
difficult to work with a pencil-brush, even when used in striping 
the most delicate lines. 

With paint and roughstuff it allows of great durability, and this 
is especially noticeable with the roughstuff, which a great many 

* O. Rodier. tW. F. Peirce. t R. I- Simpson. 




20 Economical in Time and Material. 

painters do not know how to mix properly, and which has there¬ 
fore been one of the great troubles with work ; but we think the 
painters will have no difficulty with the Japan Gold-Size in this 
connection, which is of the greatest importance to all painters, for 
even the most experienced often express the difficulty of maintain¬ 
ing uniformity in mixing roughstuff. This lack of uniformity is 
always unfortunate, and particularly so in case the roughstuff first 
mixed gives out, and a second lot is required for the same job, in 
which case it is often impossible to match the first. In rubbing 
down a job done with two such roughstuffs, one can always detect 
the difference between them, although they were mixed in the most 
accurate manner, and each ingredient was carefully weighed or 
measured.* This difficulty has at last been overcome by the pro¬ 
duction ofa standard roughstuff by Valentine & Co., which is ground 
and mixed with Japan Gold-Size and Hard-Drying Body Varnish, 
as binders. A few trials will convince almost any painter or em¬ 
ployer that this prepared roughstuff is really an indispensable article 
in the carriage and car-shop. It not only saves time, and trouble, 
and material, but insures uniformity of work, and enables the 
painter to proceed with more certainty and safety. 

8, 9. ECONOMICAL IN TIME AND MATERIAL. 

In the first place, as compared with Brown Japan, only about 
one-half the quantity of Japan Gold-Size is required to do the same 
work ; it is therefore much the cheapest drier of the two. 

In the second place, it saves time in painting with oil colors, 
where durability is required. 

By the proper use of Japan Gold-Size, the time required for paints 
to dry is lessened nearly one-half, or, in other cases, (to use a 
painter’s phrase,) you can “get a much better dry” in the same 
length of time, both of which are often great considerations. - ! 
Indeed, this quality alone makes it of incalculable worth to the 
carriage-painter. By the use of Permanent Wood-Filling and 
Japan Gold-Size, we are enabled, in building a carriage, to make a 
saving of at least ten days’ time over the old method of painting as 
practiced in New-York, and a saving of from thirty to sixty days 
as compared with carriages built in some shops ; and no matter how 
much time has been occupied in painting the latter, we firmly 

* James Hildreth. f James Easterbrook. 



Economical in Time and Material. 21 

believe that the first will be found fully equal in fullness, brilliancy, 
and durability.* 

In the third place, it affords a saving in the number of subsequent 
coats of varnish required. 

In this connection, we desire to say that we firmly believe that 
the greater the number of varnish-coats we apply, the more we 
diminish our chances of obtaining what is most desired, namely 
a perfect surface. Where is the painter who can flow a body with 
our common varnishes and have no imperfections ? Some may 
say, “ My surface is perfect after I have applied my four coats of 
varnish.” It may look so to you upon near examination; but let 
us look at the surface from a little distance, and how do you 
account for that wavy appearance ? We think every one will agree 
in the opinion that, after the body has been rubbed out of the rough- 
stuff, it can not be made more level. Now, if our varnish does 
not flow perfectly over this surface, each coat that we apply is 
surely an injury to the surface.t The question may be asked 
very properly, “ How are we to avoid using so much varnish, or 
how are we to prevent our surface from being porous?” There 
appear to be two distinct reasons for a porous surface ; in the first 
place, our roughstuff may not be properly ground, and secondly, 
our binders may not be strong enough to prevent the small, hard 
particles in our roughstuff from falling out instead of rubbing 
down. But with Japan Gold-Size as a binder, and all the materials 
properly ground, we are able to produce a surface solid and com¬ 
pact, which will hold out our first and succeeding coats of' varnish, 
and we are in the full belief that with it we can produce, with three 
coats of varnish, a surface nearer perfection than with four or five 
coats of heavy rubbing-varnish.:]: The English painter avoids the 
latter by using the Hard-Drying Body Varnish for rubbing which is 
of a thin, easy-flowing nature, and we have no doubt that before 
long all painters will demand for a rubbing-varnish something of a 
similar nature. Who has not experienced that, when using the 
common heavy rubbing-varnish, he has to put on twice the quantity 
necessary to flow level ? thereby making it liable to sweat out 
when rubbed down, as it is impossible for so heavy a coat to dry 
through perfectly. The nature of most rubbing-varnishes is that 
of drying first on the surface, which is contrary to that of the 
Japan Gold-Size and Hard-Drying Body Varnish, both of which 
dry from the bottom to the surface. 

* C . O . Wolcott . t Ibid . % Ibid . 




22 Its Manufacture in America. 

It is not until lately that this superior oil-drier has been manufac¬ 
tured in this country to any great extent, though it is said that no 
other drier of the kind is used or known in Europe. But the 
manufacture of coach-varnish in this country is making long and 
rapid strides toward perfection, and it is but natural that an article 
second only to varnish in importance should be improved suffi¬ 
ciently to command the attention of all those who are interested 
in progress. The English Gold-Size being an imported article, its 
high price has heretofore rendered its use impracticable for many 
carriage-makers ; but now an equally good article is manufactured 
by Valentine & Co., of New York, and is used in many of the lead¬ 
ing carriage and car factories in the country, and we firmly believe 
that ere long it will be in use in every carriage and car shop. 
Common Japan has proved to be unreliable, and has undoubtedly 
impaired the reputation of many a practical mechanic, who will be 
glad to become acquainted with a reliable substitute. 

A man who desires to produce the best results never hesitates 
to procure the best stock in the market, as he well knows that with 
any other, the finest work and the greatest skill are of very little use. 
Good materials are as essential as good workmen.* 

Signed, C. O. WOLCOTT, Brooklyn, N. V. 

W. F. PEIRCE, Boston, Mass. 

J. S. LEGGETT, Brockville, Ont. 

J. S. LATHROP. 

H. B. SCHROEDER, Mechanicsburg, Pa. 

HENRY HARPER, Butler, III. 

WILLIAM OLDHAM. 

JAMES HILDRETH, Wilmington, Del. 

R. J. SIMPSON, New- York. 

JAMES EASTERBROOK, Boston. 

OLIVER RODIER, Dubuque, Iowa. 

* J . S . Lathrop . 



TO THE PAINTERS: 

The publishers of this book desire to call the attention of its 
readers to the standard brand of Japan Gold-Size manufactured by 
them, which is generally commended, by those who have used it, as 
being fully equal to the imported, and we earnestly invite all 
painters of carriages, cars, houses, ships, etc., who are now unac¬ 
quainted with its use, to give it a trial. Its qualities may be briefly 
described thus : Japan Gold-Size is a superior oil-drier, of light 
color, and strength nearly double that of ordinary Brown Japan. 
On account of its paleness and the less quantity required, it is 
especially valuable for use with light paints, and being an oil-drier, 
it is much less hurtful to the work than Brown Japan. Once 
known, it is indispensable to coach, car, and house-painters, for 
binding colors, mixing roughstuffs, and facilitating their drying 
and hardening through. 

All further details are given in the essay which precedes. 

Your-s truly, 

VALENTINE & CO.. 

88 Chambers Street, New-York. 






BUSINESS ESTABLISHED 1845. 

New-Haven Wheel Co., . 

JNew-]4aven, 

CONNECTICUT, 

MANUFACTURERS OF THE CELEBRATE!) 

Sarven Pateat Wheels, 

AN!) ALL THE USUAL STYLES OF 

Wheels and Wheel Stuffs. 

CHOICE SECOND-GROWTH TIMBER USED 
EXCLUSIVELY. 

HENRY G. LEWIS, EDWARD E, BRADLEY, 

President. Secretary . 







the MmiiE-iiiimn' moimv makazim. 

WITH SPBCIAI. DEPARTMENTS FOR THE 

CAR RI AG E-BUI LDEF 
BODY-MAKER, v WHEEL-MAKER. 

CARRIAGE-SMITH. CARRIAGE-PAINTER, 

CARRIAGE-TRIMMER, CARRIAGE DEALER. 


Vol. XV Opens with April. 1873, 

AND WII.I. CONTAIN 

ABOUT 288 PAGES OF READING MATTER, 

ABOUT 500 WOOD-CUT ILLUSTRATIONS, 

ABOUT 200 DRAFTS OF CARRIAGES, WAGONS, AND SLEIGHS, 
ABOUT 500 ARTICLES AND 500 MEMORANDA. 


PRICE OF SUBSCRIPTION, - - - $5.00. 

SAMPLE COPY, 50 CENTS, 

Address, “THE HUB,” 88 Chambers Street, 


New-York. 













(Successors to MASURY & WHITON.) 


MANUFACTURERS OK 


PURE WHITE LEAD, ZINC, AND COLORS, 

For Painters, Artists, Grainers. Decorators and for Coach, 
Carriage, Car, and Ornamental Work 

SPECIALTY IN PURE PAINTS, 


SOLE MANUFACTURERS OF THE 


Celebrated Ready-Made Colors known as “ Railroad Colors,” 
for all kinds of interior and exterior House Painting. 

Sample Book, entitled “ Plain Talk with Practical Painters,” showing samples of the “ Rail¬ 
road Colors,” with instructions for use, sent to any address, on receipt of stamp. 



FOR COACH, CARRIAGE, AND CAR WORK. 


These Colors are now STANDARD GOODS, and are used in the BEST SHOPS through¬ 
out the country. These PURE PAINTS effect a 

SAVING OF FROM 20 TO 50 PER CENT, 

both' in labor and material, over the paints heretofore in use. These Colors are guaranteed to 
be absolutely pure, and are selected with great care from the best products of the home and 
foreign markets. 


NEW BOOK FOR CARRIAGE PAINTERS. 

CARRIAGE PAINTERS’ COMPANION, 

Containing thirty pages o/ Samples 0/ the Lakes, Carmines, and other Glazing and 
Body Colors, with Directions for making Grounds for the same, and 
best Modes of Applying, with other Useful Information. 

COPIES SENT BY MAIL ON RECEIPT OF 75 CENTS. 

N. B.—This valuable Book is not sold at a profit, the price asked barely covering cost and 
postage. 

Special attention of Coach Painters, and the trade generally, is called to the fact, that we 
have just issued a Sample Book of twelve pages, containing forty (40) samples of our Coach 
Colors, with full price-lists'. The book is richly worth a dollar to any painter, and we offer a 
copy free, by mail, to any address, on receipt of a three-cent stamp. Be sure to write the di¬ 
rections plainly, giving Name, Town, County, and State. A Business Card should in all cases 
accompany the application, if possible. 

JOHN W. MASURY & SON, 

Manufacturers of White Lead, Zinc, and Pure Colors, 

111 FULTON STREET, NEW-YORK. 

House Established. 1835. 







LIBRARY OF CONGRESS 



0 033 266 781 . 6 , 


Importers of ENGLISH Body and Head-lining CLOTHS, 
in Blue, Brown, Green, Drab, and Black; Carpets, 
Plushes, Satins, Etc. 

Sole Agents for the HARD RUBBER Covered CAR¬ 
RIAGE MOUNTINGS. 

Manufacturers of SEARL’S TOP-PROPS, (Patent, Im¬ 
proved, Bolt, and New-York, with Gold, Silver, and 
Oroide Caps,) and all kinds of PLATED GOODS. 


Gifford, Beach & Co., 

MANUFACTURERS OF 



AND DEALERS IN ALL KINDS OF 


Goods Used by Carriage Manufacturers, 

105 Duane St. and 89 Thomas St., 
NBW-YORK. 


Manufacturers of Buggy, Rockaway, and Willow Pony- 
Phaeton BODIES; WOOD GEARINGS of the 
finest styles and qualities, for Road Wagons, Sulkies, 
and all kinds of Light Carriages* 

Dealers in Machine Thread, Coach Laces and Tassels, 
Damasks, Enameled and Patent Leather, Goat 
Skins, Etc. Lamps, Springs, Axles, Bolts, Rims, 
Hubs, Spokes, Varnish, Paints, Etc. 












